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To ALFRED KREYMBORG 
for much encouragement 



Copyright 1921, by Frayne Williams 



Dramatic and publication rights reserved 
by author. Application for permission to 
produce these plays must be made to author, 
care of the publisher, 438 Wall Street, Los 
Angeles. M 5^") vi '-< 

UEC 23 1921 

©C/.D 59876 



Three 

Oriental 

Plays 

By 

Frayne 

Williams 

w 



PUBLISHED BY 

J. A. ALLES CO., LOS ANGELES 
1921 



^^35-4? 



By FRAYNE WILLIAMS 
Two Plays for Pierrettes 
Plays for Iconoclasts 
Cabaret Nights and other Poems 



S-^^ 



6l 



The 

Rose 
Garden 



A Play of 
Oriehtal Philosophy 
and Phantasy 



The acting throughout this play is highly- 
conventionalized. Every action being a 
posture and a design, at times accompanied 
by a quaint chord or combination of chords 
from the orchestra. 



The Rose Garden was originally pro- 
duced by The Arts Club of Chicago, Febru- 
ary 17, 1921. 

ORIGINAL CAST 

WISEMAN George Francis Wolff 

STRANGER Robert Lee Eskridge 

SERVING MAID Rosiland Warwick 

KING Gerald A. Frank 

MINISTER F. Barry Byrne 

PHYSICIAN James Herbert Mitchell 

CAPTAIN McClelland Barclay 

PLAYER Owen Jones 

HANDMAIDEN Nan Barclay 

SINGER RosiLAN Warwick 

STRANGLER Spencer K. Heafield 

ATTENDANT Preston Vance 

DANCER Arthur Corey 

Stage Picture — 

Marie E. Blake and Gerald A. Frank 
James Church, Director of Acting 

Costumes designed and executed by 

Spencer K. Heafield 
Producer, Mrs. Russell J. Mathias 
Assisted by Mrs. Albert Kales 



Scene is laid in ancient city of Sochi-Fu, 
in Chinese Turkistan; now called Yarkand 
— but still shows traces of Chinese occupa- 
tion. It was visited by Marco Polo between 
the years 1271-1275. 



The Prologue 



THE curtain rises revealing inner curtain 
of dull blue. 

Enter a Wiseman very richly dressed in 
silk robes of many shades of blue, embroid- 
ered with dull gold. He carries a rich copper 
lantern which is lighted, and an ebony staff. 
The stage is almost in gloom, but from the 
left side is a narrow band of orange light 
just level with the Wiseman's head when he 
is in a standing position. 

He seats himself slightly to the left of 
the stage cross legged, facing the audience, 
placing his lantern on his immediate left. 
When he is seated he claps his hands thrice 
and a servitor enters with a steaming bowl 
of rice in a blue bowl and a smaller bow) 
of tea. After he leaves, a second man enters 
whom we will call the Stranger. He is 
poorly dressed — bare legs and sandals, and 
just a blouse of a drab cinnamon color. He 
seats himself slightly to the right and equal 
distance from the Wiseman, and he claps 
his hands thrice but less imperitive in man- 
ner than the former. 

The servitor enters with a bowl of rice 
and a bowl of tea. Both the bowls are 
smaller than those of the Wiseman. 

13 



THREE ORIENTAL PLAYS 



The Stranger carries no staff with him, 
but has a small cage containing a canary. 
He also carries a rusty iron lantern which 
he places to his immediate right. The cage 
he places on his left. 

Directly he gets his food he starts to 
consume it with gusto, first feeding the bird 
with a speck or two of rice. 

The Wiseman is now partaking of his 
in a slow dignified manner. He takes a 
book from his girdle and reads by the light 
of his lantern. The stranger observes all 
this closely, stopping to eat the while. 
Finally the Stranger is bold enough to ask 
a question. 



Stranger 
Wiseman 



Stranger 
Wiseman 



Stranger 
Wiseman 



Are not the stars suspended on 

silken threads? 

No. They are suspended upon 

less. If they were suspended 

on silken threads, the threads 

would break and send us all 

crashing to eternity. 

What is eternity? 

That place to which we never 

go. It is a place where there 

is neither darkness or light. 

Why? 

Because if there were darkness 



14 



THE PROLOGUE 



or light, we should be there, not 
here. Then eternity would be 
here, because here would be the 
place where we are not, and 
eternity must ever be the place 
where we are not. 

Stranger Is this then the Truth? 

Wiseman Do you find the Truth hard to 
seek? 

Stranger I do. 

Wiseman Truth is only separated from us 
by a rice paper screen and some- 
times the paper gets torn. 

Stranger And then? 
Wiseman Men go mad. 
Stranger Do only madmen know the 
truth then? 

Wiseman They only know that the others 
do not know. 

Stranger (Perplexed), Know what? 

Wiseman There comes in the point de- 
sired. Know that bitter is not 
sweet — ^that suffering is not joy 
— nor joy pain. Sorrow not 
good, nor good evil — but that 

15 



THREE ORIENTAL PLAYS 



they are all the same thing — all 
the one thing — but all different 
to different people. Are you 
married ? 

Stranger No, but I have a sweetheart. 

Wiseman Thus, then, it were perhaps 
wiser and the essence of good- 
ness were I to kill you where 
you sit before you perpetuate 
more fools of your kind. Your 
sweetheart would think it an 
evil deed, but if I delayed my 
action until you had been mar- 
ried a few years, your wife 
might count it a blessing. Yet 
my action would be the same. 
(During this speech he draws a 
dagger from his girdle. Stranger 
flinches and is relieved to see 
him put it back). 
What do you think of the rice? 

Stranger Fine. 

Wiseman You see I have scarcely touched 
mine. / think it poisonous. 
Fine to you but poisonous to me. 
Yet the rice is the same. Apply 

16 



THE PROLOGUE 

this to Beauty, and you get the 
same result. Beauty is only 
what it awakens in us. 

Stranger (Further perplexed). Is noth- 
ing one thing? 

Wiseman Yes, — although Vm not sure. I 
find Love is never Hate. It some- 
times tries to be but never is. 
Hate is never Love. Neither will 
surrender, for so true are they 
to themselves and others that 
one would kill the other first. 
Thus Love kills Hate, and Hate 
kills Love. 

(The Wiseraan indicates that he wishes 
the rice howls removed. Attendant does so. 
Wiseman picks up his lantern and starts to 

go), 

stranger (Doing likewise and overtaking 
him on right of stage).. Alas. 
What then is life? 

Wiseman (Pausing). Life. Life is less 
than nothing. Life is Death. 
Death is Life. Death is some- 
times welcome. Life never is. 
All the lives in the world and 



17 



THREE ORIENT AL PLAYS 

since the world began amount to 
not more than a grain of sand. 
The great are little. The little 
are great. But move aside for 
they are going to have a play 
here and soon. 

Stranger I will, but what is a play? 

Wiseman A play is that which is or that 
which is not, shown to those 
who live what is, to make them 
think that which is not. 
Come let us hurry! (Leads him 
out). 



18 



The Play 



The curtain rises to a shrill blast of 
trumpets at a distance. There is revealed 
two dull gold walls — right and left — set 
back about four feet from the curtain. 
Each takes about a third of the width of 
stage. The open space or middle third turns 
inward at right angles, making a long cor- 
ridor-like room stretching away to back of 
stage. At the end of this room, there are 
three steps leading to an elevated platform. 

A stretch of blue sea is seen through the 
open doors. 

The walls of this corridor room are 
painted a deep rich purple. The steps to 
the elevated platform at back are a deep 
lacquer red. The elevated platform itself is 
black, and the floor space is entirely covered 
with black felt. 

The right hand gold wall is bare except 
that a small black ebony sofa stands against 
it. 

Against the left hand golden wall is a 
throne of black ebony with three steps run- 
ning round the visible sides of it. The chair 
on the throne has lilac cushions. 

These two walls are high and disappear 
above the stage curtains. The corridor room, 

19 



THREE ORIENTAL PLAYS 

however, shows rafters of dull red, and from 
these rafters hang banners and standards 
of many colors. Some are in shreds and 
ribbons, being hard won battle relics. 

Perched on the cushions of the throne 
is an old decrepit Chinese King, almost in 
his last death throes. 

He is not visible to the people in the 
corridor room. 

Behind his throne stands his physician 
who hands him some medicine in a silver 
cup. He takes it with trembling hands, and 
drinks it with a gasp. The cup tinkles on 
the floor. Out in the corridor his ministers 
are kneeling with heads bowed to the floor, 
perfectly still. 

The only one that is standing is the 
Chief Minister of the Court. 

His position is far enough down stage 
to command a view of both the chamber and 
the dying King. 

The Chief Minister approaches the King 
obsequiously. 
Minister Again thy pleasure O King! 

King I die! 

Minister It may be decreed. 

King It is decreed. (He gathers him 

self up to say this with hollow 
strength and then falls back. The 
Physician makes a slight start 

20 



THE ROSE GARDEN 



of alarm). I must die happy! 

Minister May you live to see the new 
throne room built — the throne 
room that is to surpass all 
others. Then your great soul 
may pass away in pleasure. 

King I shall not live. Know ye that 

death seizes not me. I am am- 
bracing it Imperially! 

Minister I have anticipated the pleasure 
of your Greatness. (Makes a 
half step forward). Your Might- 
iness, I have got the builders to 
make an exact model of the 
throne room — showing it even 
as it will look when completed 
— inset with many gems and 
colored to the resemblance. May 
they bring it? 

King (After looking almost vacantly 

for a few minutes, nods his 
head) . 

Minister (Makes a slight sign, and one 
of the kneeling figures rises and 
tears out madly but silently. He 
reappears with two men carry- 

21 



THREE ORIENTAL PLAYS 

rying a model of Oriental archi- 
tecture. It is a very beautiful 
piece of work). 
King (Raises himself wearily to look, 

assisted by his physician. He 
fixes the model with a piercing 
glance and says with infinite 
scorn:) Is that all it will be! 
It is well I die before you build 
such! 

(The Minister quickly ushers them away 
with the model and they scramble out quietly 
but hurriedly amongst the kneeling figures). 

King (To Ministers) Is that how you 

embitter my last hours? 

Minister We have flowers of all kinds. 
Shall we bring them? 

King Bring me only roses — roses. 

(Minister makes a sign and 
handmaidens bring in a pale 
green sheet of silk full of roses). 

King (Makes a sign). Scatter them! 

(Handmaidens drop the roses 
all about he throne). 

Minister Shall these maids dance? They 
are the prettiest girls in your 

22 



THE ROSE GARDEN 

kingdom. 

(The King gives no sign, but 
the Minister signifies that they 
should dance), 

(Some musicians have crept in 
behind the flower girls and they 
now sit at the right wall and 
play as the girls dance. After a 
few movements, the King with 
feeble rage:) 
King Stop ! Is this how you mock my 

Imperial end? 

(The dancers fall upon their 
faces on the floor. The musi- 
cians also. There is silence). 

Minister (After a pause). Shall one sing? 

King Sing? Yes, sing, but sing only 

of roses. (The first dancer rises 
and a small lute like instrument 
is handed to her. She sings sit- 
ting) . 

Singer Have you seen the roses 

Kiss each other 

And twine in amourous affection 
The white to the red 
The red to the white? 

23 



THREE ORIENTAL PLAYS 

Have you seen the roses 

Kill each other 

Stabbing with thorn-like swords 

As the breeze sweeps them 

through 
And their red petals drop like 

blood? 
(The King apparently dozes and 
the dancers and musicians with- 
draw, singing the refrain softly) . 
(A trumpet so^mds), 
(The King awakens). 
(An officer appears at the head 
and whispers to the Minister as 
he has joined him). 
Minister O, King! The noble Captain of 
your Host is outside wounded al- 
most to death. Great trophies 
he brings. 

(The King nods. Enter the Cap- 
tain of the Host, supported by 
two officers. He is very weak 
and pale from loss of blood, — 
almost as incoherent as a drunk- 
en man. Gripped tightly in 
each hand, he has the torn ban- 
ner of opposers. His ar- 

24 



THE ROSE GARDEN 

monr and clothing is hacked to 
shreds) . 
Captain King! King! (He sobs 
weakly), they are all slain — 
the raiders of your fair king- 
dom, and I die for you. (He 
birches forward and would fall 
at the King's throne but for his 
supporters) . 

King You foolish man — die for me? 

I die for myself. 
Captain My duty — 

King Your duty is to live, not die. 

Any fool can die. I have lived 
and now I will my Imperial end. 
But I must die happy! 

Captain King! (He falls, and the 
ivounds bleed afresh). 

King See, he bleeds among my roses! 

(The Captain is now insensible 
and is borne out A bassoon- 
like trumpet sounds in the dis- 
tance) . 

King Who dares to break the decreed 

silence of my City? 

25 



THREE ORIENTAL PLAYS 



Minister 


(To watchers on platform:) 




What is this? 


Watch 


A troop of players. 


Minister 


Let the soldiers throw them into 




jail. 


King 


Bring me their leader. 




(The leader of the players is 




brought in. He falls flat before 




the King with forehead in the 




du^t). 


King 


Name? 


Player 


Too Foo. 


King 


You lie. Too Foo is dead. 


Player 


He is dead, but he lives in me. 



King 



Player 
King 

Player 



I am his son. 

His son ! Come nearer me. My 
speech grows weak. (Player 
draws nearer). Can you speak 
me of your father's play, — The 
Rose Garden? 

Yes, your Imperial Highness. 

If you please me you shall name 
your own reward. 

That shall be as your Greatness 
wills. 



26 



THE ROSE GARDEN 

King (Beckons his Minister and whis- 

pers to him. He nods. Starts, 
and looks at player almost with 
horror, — hut the look subsides. 
He leaves rapidly, hut returns). 

King Let us have music. 

(The Musicians form up the cenr- 
ter of stage, hut in the corridor 
room out of sight of the throne). 
During the mv^ic enter three 
men dressed in black — all about 
the same height and thin. They 
all wear short black cloaks so 
that their arms are not visible. 
Their skulls are quite clean 
shaven. 

They fall flat before the King's 
throne. The King beckons the 
leader of the three and whispers. 
To do this, the King tremblingly 
stands supporting himself by 
shoulder of the sinister attend- 
ant who makes no sign, though 
once the whites of his eyes show 
and he nods almost impercept- 
ably) . 

27 



THREE ORIENTAL PLAYS 

(During this, the Minister takes 
the Player to right side of stage 
by wall and says:) 

Minister You need refreshment, stranger? 
(Claps his hands). (Two ser- 
vants enter. One with wine and 
fruit. Player seats himself on 
the loiv seat, and eats some fruit 
and dnnks vnne. Second servitor 
comes forivard with a gold howl 
of scented ivater and a lilac silk 
towel. Player with all dignity 
uses them. Attendant offers him 
a pipe with bowl as big as a 
ivalnut and a stem about three 
feet long. 

This ivhile the other scene is 
being enacted on left of stage). 

King Now ! 

Player (Prostrates himself before the 

King) . 

(The three sinister black figures 
cross the stage and stand with 
arms folded against the gold waU 
at right). 

King Come nearer! (Beckons player 

28 



THE ROSE GARDEN 

to steps of throne). I wish you 
to speak from this play be- 
cause certain memories stir me. 
(Dreamily). She was seated at 
the play, and wore a rose in her 
hair. I had her followed with 
the request that she should be 
brought to me. (A silence). 

Player Great One — She came on the 

wings of the dove. 

King (Nods) — and my Imperial 

father had her executed (sud- 
denly). Now speak the speech. 
(Music so^inds through this. 
The Player is standing very 
near the throne). 

Player How oft she looked over the 

grey wall 
And saw not your coming, 
The wall of the Rose Garden. 
Her little white hands hung do\\Ti 
Am.ong the red roses 
Playing idly with their petals 
And you came not. (Advances 
nearer the throne). 

All day the sun kissed her cheeks 
And you came not. 

29 



THREE ORIENT AL PLAYS 

Then when night fell 
How black the roses looked 
Until the moon rose and showed 
Crystals hanging from their 

petals 
Crystals that were her tear 

drops. (Mitsic stops), 

(Player advances right to the steps of 
the throne and speaks very quietly). 

And when the morning came 
Low hung her head over the wall 
And her lovely raven tresses 
Were entangled in the thorns. 

And they buried her among the 

roses 
For you came not. (He bows 
very low). 
King (With trembling hands rises). 

And they buried her among the 
roses. (Trembling, he stands). 
Player! Player! Your reward 
is great! (He makes a sign). 
(Two attendants unroll a sheet of pale 
yellow silk about six feet wide which effec- 
tually closes up the entrance to the corridor 
room. 

The three black figures advance. Two 

seize the player's arms from behind. The 

30 



THE ROSE GARDEN 

arms which emerge from their cloaks are 
hare. They draw him hack from the throne, 
in such a position that his head is throivn 
hack and his neck hared. 

The third hlack figure throws off his 
cloak, and is revealed hare to the waist. 

The music plays wildly hehind the silk 
screen, and the hidden attendants sing a 
sohhing rise and fidl accompaniment, as the 
third hlack figure slowly strangles the 
Player to death. 

The King totteringly walks down the 
steps with ecstacy written on his face, his 
whole hody shaking with exultation and 
quivering arms outstretched). 
King Your reward — Your reward! 

(The strangler releases his grip 
and the limp hody drops into 
the arms of the King), 
Your reward — ^to die with a 
King. (Their hodies fall en- 
twined amongst the roses). 

Minister ) 

) The King is dead! 

Physician ) 

(The music stops, the yellow 
silk veil is dropped, and with a 
great wailing, all rush from the 

31 



THREE ORIENTAL PLAYS 

Palace. 

The tivo bodies lie amongst the 

roses in the foreground). 

The King in his death throes 

clutches to his breast a large 

red rose). 



CURTAIN 



32 



TKe 
Blue 
Vase 



A Chi 
PI 



inese 



ay 

In Free Verse 



CHARACTERS: 
A KING 

A HANDMAIDEN 
A BLUE VASE 

SCENE IS LAID IN ANCIENT CHINA 



TKe Blue Vase 



THE curtain rises revealing a lofty room 
about the depth of eight feet only — 
representing more a corridor than a room. 
Its construction is very solid — being of 
black ebony. 

It is lighted by an oblong window in the 
center wall. There is also a small circular 
aperture in the ceiling which admits a dif- 
fused circle of yellow light as it is entirely 
covered with a lemon colored glass as a pro- 
tection against the weather. 

The oblong window center has no glass 
or bars, but flung back against the walls 
are two plain ebony doors which when closed 
would successfully seal this sanctuary — for 
sanctuary it is. A sanctuary containing a 
huge Blue Vase which stands exactly in the 
center of the oblong window and immed- 
iately under the circle of diffused yellow 
light. 

The Vase is of handsome proportions — 
standing about five feet high, further emi- 
nence being given it by elevation on a small 
platform or rostrum which has the dignity 
of a throne. 

The platform is constructed of black 

35 



THREE ORIENTAL PLAYS 

ebony and has two steps leading to it. The 
steps are very solid and broad but only 
about fifteen inches high. 

The Blue Vase is absolutely plain — hav- 
ing no ornamentation whatever — no arms, 
pattern or design. It owes its absolute love- 
liness to symetrical proportion, and to its 
beautiful blue color — full toned and rich. 

It is evident that this sanctuary is con- 
structed on the edge of a mountainous 
precipice. The oblong window without 
doubt looks out upon a sheer drop of some 
thousands of feet. The next mountain is 
seen almost like a perfect miniature paint- 
ing enclosed by the window framing, bi- 
sected of course by the Blue Vase in the 
foreground. The floor of this room is black 
— carpeted by a kind of black felt so that 
no falling footstep can be heard. On the 
right hand side of the Blue Vase is a tiny 
frail couch, lacquered a pale yellow, fitted 
with a little silk mattress and roll pillow of 
mole colored silk — whilst on the left is a 
twisted stand of most irregular shape, which 
holds suspended at its pinnacle, a tiny glow 
lamp, boat shape. The stand is four feet 
high and has a solid metal foot. It is the 
color of red bamboo. The two doors leading 
to the room are right and left. They are 
very narrow, being scarcely two feet wide 

36 



THE BLUE VASE 

and nearly as high as the walls of the room 
itself. The solid doors hinge from the cor- 
ridors outside. The thickness of the walls 
can thus be seen. 

On the room side a long silk flame — 
orange colored curtain hangs on the left 
side of each doorway — ^the folds draping to 
the floor. Just above the couch hangs a 
huge bronze gong about three feet in dia- 
meter, and underneath is suspended a huge 
ebony hammer. 

Fully half a minute before the curtain 
three strokes sound on the gong — ^then the 
curtain rises very rapidly. 

The couch is occupied by a diminutive 
Chinese girl. She is intensely pale and sits 
immovable with legs crossed, facing front. 
She is dressed in pale yellow watered silk. 
Her hair is plainly dressed after the Chinese 
fashion. After the curtain is up there is a 
dead silence for fully a minute. Then with- 
out moving she speaks — at first a little hal1> 
ingly : 

SHE How do I love him? 
I cannot tell. 
When I was a child 
I marvelled at the mountains 
And stood in fear of their greatness. 
I saw the sea one day, 

37 



THREE ORIENTAL PLAYS 

And could not sleep 
For nights, 

Because of its immensity! 
But when I look at this love of mine 
It is so wonderful, 
And so huge, 

That a mountain seems like a pebble 
Thrown idly away by a playing child, 
And the sea, a tiny dew drop 
Hanging on a grass blade 
Or a branch, waiting for a bird 
To drink it. 
Beside my love 

All things that were great before 
Are now so small 
I should not miss them 
Were they away! 
Except — except two things 
The sun, and the song of a bird. 
The sun, because I could fling 
My naked soul on its hot bosom 
And burn out my desire. 
The bird song because it 
Tells the song of my love. 
The door at left opens and the King en- 
ters. He is dressed in a long close fitting 

38 



THE BLUE VASE 

gaberdine or tunic. It is of grey green with 
self color designing. A black silk cap is on 
his head and his feet are encased in dull 
silver slippers. He has a girdle with a 
sword. He is very tall and aged about 
forty-five years. The buttons on his tunic 
are alternate silver and turquoise, and on 
the third finger of his left hand he wears a 
blue ring. His fingernails are long and 
gilded. As the door closes behind him, he 
stands gazing enraptured at the Blue Vase. 
He sits on the platform or throne and ad- 
dresses it caressingly: 

KING Thou hast soothed me 
Unruffled my cares. 
A friend or consort 
Could do no more — 
Could not do so much! 
Why do I worship thee? 
Is it for thy beauty, 
Color, shape and wondrous curves? 
And if so, are not these 
Reasons enough? 
Thus men love their steeds 
And love the curving 
Limbs and bosoms 
Of their mistresses. 

39 



THREE ORIENTAL PLAYS 

Thou art more then all these, 

For in loving them 

I might still baser be, 

But in loving thee 

The more exalted do I become 

And less desire have of the w^orld. 

(He poMses in contemplation a few 

moments). 

When first I placed thee in this shrine 

I was mad with possession 

But now life holds 

A calmer joy for me, 

Here have I installed thee 

Safely away from vulgar 

And misunderstanding eyes. 

Here have I built thee 

A worthy shrine 

And here do I in contemplation 

Find that which the world has lost. 

(A pause during which he sits with 

drooped head., then without looking 

up, he says:) 

HE Sing to me little one: 

SHE (Takes a little square lute from he- 
hind her couch and sings:) 

40 



THE BLUE VASE 

When the rough winds 
Sweep among the willows, 
As they lean tenderly o'er the stream, 
Then their strong boughs 
Clasp the waters with their arms 
Like a passion swept lover, 
And their leaves suck up 
Dewy kisses, like the loved one 
From the moist mouth of his mistress. 
HE (Frowns and claps his hands for 

her to stop, and rises, giving her a 
long piercing glance. He slowly 
passes from the room, but turns at 
the doorway and says:) 
Do you still love your task, little 
one? 

SHE I still love — (She drops her eyes) 
my task. 

(He is about to leave once more, but 
returns to the vase and, mounting the steps 
of the throne, touches the slender neck of 
It with his lips. He turns yet again at the 
doorway, and sternly). 
HE Sing me no more songs. (Exit), 

(ImmMiately he has passed from sight, 
she strikes a discord on her lute and rushes 
across to the Blue Vase), 
SHE Thou thing of Hate! 

41 



THREE ORIENT AL PLAYS 

Why do'st thou rob me of his love? 
(Flings herself down sobbing), 
(After a while, she collects herself and 
speaks again). 

Mine is the greater beauty 

He shall see. (Runs to couch), 

I'll wear this red rose in my hair, 

These coral beads around my neck, 

These ear-rings, and this perfume. 

(She adjusts them and looks into her 

mirror, and quickly adds a little color to 

her cheeks, powder, etc., as the light fades 

out to note the lapse of time), 

(When it gets lighter it will be noticed 
that the sun is on the wane. The light 
through the windoiv at the back is now a 
bright orange. She is in her original posi- 
tio7i on couch). 
SHE Near sun down 

And he does not come. 

If he comes not, then the night 

Will seem a thousand years. 

But if I could spend the night 

In his arms, the time would seem 

But a candle flicker . 

(He enters), 

42 



THE BLUE VASE 

HE What is this strange unrest? 

(Sees her). 

Well do you keep your watch 
These two years. 
Now you should be seventeen. 
Never have you let the lamp go out. 
Never in the day have you slept. 
You do your duty well. 
No one but we two have entered 
This sanctuary. 
Should you fail me 
Death hideously devised 
Shall be your punishment — 
This you know, little one, 
Do you not? 

SHE (Coming forward). Yes, my Lord. 
HE What! What! Do you disobey 
My hest and wish! 
What means this rose? 
What means these vulgar orna- 
ments ? 

Take them away! 

(She removes the ornaments in an ah 

most listless way. Finally she removes the 

rose, and as she does so, her hair falls about 

her and the rose drops in petals on the 

43 



THREE ORIENTAL PLAYS 

ground. At the same moment, she takes the 
other half step which brings her absoultely 
level tvith him eye to eye). 
SHE I am sorry to offend, my Lord. 

HE What strange perfume is this? 

SHE It is the perfume of my hair, 

Or my skin. 

(He does not move, and she timidly slides 

her hands in his). 

HE I am tired. I am dizzy. 
What force impels? 
(She hacks away slowly to couch — ever 
so slowly, still holding Hs hands, and with 
her eyes fixed on his. He follows almost in 
a dream. She seats herself one end, and 
he slowly seats himself on the other. The 
light through the window has turned to the 
rose red of sunset). 

HE (Repeating). The perfume of your 

skin! 

(She bares her chest and throat by un- 
doing the three top buttons of her tunic, and 
he passionately kisses her chest and throat. 
She clutches her arms tightly around his 
neck and holds him there, whilst she sings 
again, croningly:) 

When the rough winds 

Sweep among the willows, 

44 



THE BLUE VASE 

As they lean tenderly o'er the stream, 
Then their strong boughs 
Clasp the waters with their arms 
Like a passion swept lover, 
And their leaves suck up 
Dewy kisses, like the loved one 
(She loosens her arms) 

From the moist mouth of his mistress. 
(He kisses her on the lips). 

SHE Oh, my loved one! (She now sinks 

in his arms). 
HE Is this the end of my unquiet? 

Is this the end of all paths? 

Is this the path I would not tread 

Because I feared? 

And hugged to myself a higher joy? 

(Pause) . 

Is there anything greater than this ? 
SHE (Murmurs), No! No! 

HE There must be another way. 
Something greater — nobler — 
Full of pure joy. 

SHE Kiss me. 

HE If this were all. 

Mankind would have paused here 
And strayed no further. 

45 



THREE ORIENTAL PLAYS 

Do you beautiful women 
Lead us up, up among the stars, 
Or do you prevent our attainment? 
Tell me? 

You are of this matter 
And must be one with its secret. 
SHE I know only that I love, 
This my couch by night, 
My throne by day 
Witnesseth it. 
By day, my thoughts 
Play wanton with the sun-beams 
And find only you. 
By night my thoughts 
Wander among the stars 
And I find but you. 
I wondered why it was so 
But now I know. 
You were mine already. 

HE The paths I have trod 

Have brought my spirit rest 

Calmness to my soul. 

But with you little one 

Whither, whither? 
SHE I will calm your every fear, 

46 



THE BLUE VASE 

Bear all your sorrows, 
Share the every ill 
That Fate may bring — 
HE Stop, I have heard that before. 

(Dreamily) 'Twas at the foot of 
a purple mountain 
' On the strand of a lake. 

Silver streaks stirred the waters. 
It was thousands of years ago. 
But could not believe. 
And so thus was I born. 
Born not trusting friends, 
Born not trusting women. 

(His hands now play amongst her long 

raven hair). 

Why should we try to believe 
That this is something worth 
When we know that it is nothing- 
ness! 

SHE What matters what it is 
So that we are together? 

HE What matters! 

To find this smiling face a lie. 

This lovely heart cankered at its 

core, 

This honest friend, 

47 



THREE ORIENTAL PLAYS 

Not even an honest enemy! 
(Pauses in meditation). 
Why should I take up these threads 
When Contemplation hath given me 
Such bliss, and exalted me 
Above these things? 
SHE Yet you said you suffered unrest? 

HE But was that unrest from within? 

My soul has flown to such heights 
Of Contemplation that I know 
It came from without. 
You bring me to another world. 

SHE Yes, the World of Love. 

HE Yes, the World of Love 

I have heard it called 
Where men haggle 
For pieces of metal. 
And sell their souls' security. 
Where women sell their love 
Themselves, and their lovers. 
Where they leave their trusted one 
And rove more butterfly like 
Than the butterfly 
After new fancies. . . . 
After I have scorned 

48 



THE BLLE VASE 

And abjured all this 

You would bring me back! 

And yet — and yet — 

Is love worth its agonies? 

What is this 

Faint stirring of music within me? 
SHE It is the eternal Song of Love. 
HE Or the sweeping chords of passion. 
SHE Passion and Love 

All, all that matters ! 

There is nothing more — nothing! 
(During this speech, the oil lamp on 
stand flickers), 
HE Nothing. (Slowly kisses her lips 

two or three times). 
SHE Nothing. (The lamp goes out), 
HE (Rising with alarm). 

The lamp is out! 
SHE (Trying to drag him down). 

We can kindle it again. 
HE No! No! Now I see! I see! 

We have played the wanton, 

Never has that flame perished, 

And while that burnt 

The flame within me leapt. 

49 



THREE ORIENTAL PLAYS 

(He moves from the couch. She clings 
tightly, and he drags her with him. He 
unloosens her hands and throws her back- 
ward on the floor. She cries aloud, and at 
the same time he speaks:) 
HE You — You — neglected your task 

And dragged me from my height. 

Out, Out, from this ! 

Never more will I trust you. 
SHE (Clutches his feet bedewing them 

with her tears). 

Lord — Master — Beloved ! 
HE (Twms abruptly). 

Let me contemplate. 

Light the lamp . . . 

If when I leave my reverie 

You are here, death comes to you 

tonight. 

(Trembling all over, and with stifl.ed 
sobs she takes an oil bottle and relights 
lamp. Still sobbing she picks up her little 
square lute lohich she trails brokenly after 
her. At the door she turns appealingly, but 
utterly broken. He pays no attention to 
her, for he is sitting on the floor by the Vase 
— his hands covering his face — like one in 
prayer. Her eyes travel listlessly round the 
room like one in stunned sorrow endeavoring 

50 



THE BLUE VASE 

to take a last look at a familiar scene. They 
light upon the gong with the huge ebony 
hammer. She stiffens and a look of deter- 
mination comes into her eyes. Almost in 
one sweeping movement, she crosses the 
room, and takes the hammer, and with her 
face convulsed with hatred, raises it loith 
both hands, and shatters the Blue Vase. He 
only raises his eyes in time to see the conr. 
summation of the deed. He emits a great cry. 
She tremblingly drops to the floor on 
her knees. 

The hammer falls from her hands. 
He advances and stands over her with 
both fists clenched, but they fall powerless 
by his Side, for she does not move). 
HE (Hollowly and brokenly). 

Now strike the gong: 

Let them come from all parts of 

the palace 

And rend you limb from limb ! 
(She does not move. He flashes out his 
sword and she slowly bares her neck to re- 
ceive the stroke. He raises the sword, but 
again his arms fall powerless). 
HE (With a great cry:) My world has 

gone ! 

(He plunges the sword into his own 
breast, and falls among the debris of the 

51 



CHARACTERS: 

RIGHT PROLOGUE 
LEFT PROLOGUE 

THE MAN WITH THE BUNDLE 
THREE ROBBERS 
A TARTAR 



NOTE ON THE COSTUMES 
AND PROPERTIES 

THE two Prologues are dressed exactly 
alike in long Persian gabardines of a 
pervailing snuff color. 

The Right Prologue wears a small turban 
of dull red and scarlet slippers. 

The Left Prologue wears a small turban 
of dull blue and bright blue slippers. 

The two Eunichs wear large turbans of 
bright orange and dull gold loin cloths, for 
the rest they are nude with well oiled skins. 

The Man with the Bundle is dressed in 
bright red rags, which he can shed entirely. 

The Three Robbers are dressed in bright 
green rags, small black turbans, and they 
wear large black rimmed spectacles. 

The Tartar is dressed in orange yellow 
with a close fitting red cap and brown shoes. 

The books are bound in purple. 



DESCRIPTION OF SCENE 

Walls of cellar are tope; floor black. 

The narrow staircase, which runs up to 
center door, is blue. 

The doors are red with rust, and fitted 
heavy iron bolts. 

55 





Prologue 




(BEFORE CURTAIN) 


Enter Prologue R. Enter Prologue L. 


RIGHT 


(To audience:) Notables! 


LEFT 


(To auidence:) Fools! 




(They both stop). 


RIGHT 


Who engaged you to speak this 




this prologue? 


LEFT 


The Author! 


RIGHT 


A fine author! 


LEFT 


I agree with you. 


RIGHT 


Well since we agree Til speak 




the prologue — 




Notables ! (Reads from script). 


LEFT 


Fools! (He has no script). 


RITGH 


(To left:) This is impossible. 




Two of us cannot speak a pro- 




logue. 


LEFT 


The author made two speak a 




prologue before. 


RIGHT 


Then it is obvious he cannot re- 




peat himself. 


LEFT 


Still less can he repeat others. 


RIGHT 


I wish he would, then the public 



56 



THE PROLOGUE 



LEFT 



RIGHT 
LEFT 



RIGHT 
LEFT 



RIGHT 



LEFT 



RIGHT 
LEFT 



might think him clever, for they 
like authors to repeat them- 
selves. 

Yes, but it takes a clever author 
to repeat himself and always 
seem the same. 
You are so obvious. 
Obviously so! Why do you 
have a manuscript to read your 
prologue from? 

Why have you no manuscript? 
Because my speech begins, "0 
Fools!" and yours beings, "0 
Notables!" You need a lot of 
rice paper to prove people are 
notables, and nothing to prove 
they are fools! 

Let us leave it to the audience. 
(To audience:) Shall I speak 
the prologue, Notables? 

Or shall I speak it, Fools? 
(Tivo sets of voices clamour 
from the audience). 

What is that? 

That is the Notables clamouring 



57 



THREE ORIENTAL PLAYS 



to be called "Fools/* and the 
Fools clamouring to be called 
"Notables." 
RIGHT You are wrong again. It is the 
Fools calling themselves Nota- 
bles because they are in the 
cheaper seats, and the Notables 
calling themselves Fools be- 
cause they paid more when they 
might have seen the play for 
less money and bought rice with 
the residue. 
Or opium. 

The same thing! they both 

bring us one step nearer the 

grave. 

Only rice does the more harm; 

it makes the way to the grave 

longer. 

That's not your own tohught, 
you stole it from the author. It 
sounds like his style. I believe 
it's in my manuscript. (Looks). 

LEFT You needn't look. The author 

has no thoughts of his own to 



LEFT 
RIGHT 



LEFT 



RIGHT 



58 



THE PROLOGUE 



steal. 

You insult the author! (With 
rage). 

You are worse ; you insulted the 
audience; that's much worse. 
You insulted them for spending 
money to see the play ! 
It's always safe to insult au- 
thors. Besides, they are used 
to it and audiences are not. 
(They are turned to one another en- 
raged. Loud strokes on the gong. A hand- 
ful of rice is thrown from right. Another 
mPTTT"^^* ^^^^ ^^^^ ^^ ^^^^^ succession). 



RIGHT 
LEFT 



RIGHT 



RIGHT 
LEFT 
VOICE 
RIGHT 



LEFT 



That's the stage manager throw- 
ing rice at us. 

He may need it by the end of 
the week. 

Come! Come! Come! 
(Loud noise on the gong). 
Let them have their stage. How 
will the audience know what the 
play is about with no prologue 
spoken ? 

It doesn't matter; our author 
doesn't know what it's about in 



59 



THREE ORIENTAL PLAYS 

any case! 
RIGHT Very well, then! (Threating- 

ly). Very well; Fll go straight 

to the author and get him to 

write an epilogue. 
(They shake fists in each other's faces. 
Loud cries. Noise on gong. Two stalwart 
Eunichs, nude and shining, wearing bright 
orange turbans, stride in from right to left. 
They sieze the Prologues round the waist 
and stride off with them kicking helplessly) . 



60 



The PI 



ay 



SCENE : An underground Eating House 
in Persia; originally the basement or vault 
to an old palace, but now used as an eating 
place for thieves and questionable characters. 

The Tartar is asleep in the left-hand 
comer of room. 

The three Robbers are down front of 
stage seated on mats eating and smoking. 

FIRST Is it certain that he will come 
tonight? 

SECOND It is a certainty. 

THIRD Nothing is certain; not even 
certainties. 

FIRST He was here three months ago. 

SECOND Also three months before that. 

THIRD And, now he may have been 
dead three months. 

FIRST And in three months we may all 
be dead. 

SECOND Or in three minutes. 

THIRD Why not ; for see how much hap- 
pier we should then all be. 

FIRST That being so, let us all kill our- 
selves. 

61 



THREE ORIENTAL PLAYS 

SECOND Or kill each other? 

THIRD Why not kill him? 

FIRST That brings us to where we 

were in the beginning. 

SECOND There is no beginning. 

THIRD Every beginning may be an end. 

FIRST Like the end of a rope. 

SECOND But a rope has two ends I 

THIRD Or two beginnings? 

FIRST But only one middle. 

SECOND Which can be made an end to. 

THIRD Made two ends to. 

FIRST And thus, two beginnings. 

SECOND Let us make an end of him. 

THIRD To him. 

FIRST That cuts our circle, (Relights 

pipe), 

(A pause while they smoke), 

SECOND Why did we not kill him before? 

THIRD Because he still lives. 

FIRST And because he would not let us. 

SECOND And we were afraid. 

THIRD Afraid of him? 

FIRST Afraid of ourselves! 

SECOND Afraid for ourselves. 



62 



THE MAN WITH THE BUNDLE 



THIRD 


Therefore he lives and we perish. 


FIRST 


No one perishes if there is aught 




to do. 


SECOND 


If there is aught to do, we still 




live. 


THIRD 


But yet we die. 


FIRST 


We die to reach the end of our 




troubles. 


SECOND 


But there is no end to our trou- 




bles. 


THIRD 


Like the rope. 


FIRST 


And the middle of it all is life. 


SECOND 


And so we live by thieving. 


THIRD 


And so may he. 


FIRST 


But his bundle is never bigger. 


SECOND 


It is small, but never smaller. 


THIRD 


Then the treasure must be big 




because the bundle is small. 


FIRST 


But he never speaks. 


^SECOND 


It is only when a thing is too 




big or too small that we never 




speak about it. 


THIRD 


But we see it. 


FIRST 


Not if it is too small. 


SECOND 


Or too big! 



63 



THREE ORIENTAL PLAYS 

THIRD And if things are neither big, or 
small, but medium, then we 
must see them. 

FIRST We see nothing! We see over 
them, under them, round them 
and through them, but not in 
them. 

SECOND Shall we never see in his bundle? 

THIRD No! 

FIRST No? 

SECOND No? 

THIRD No; because first, we must open 
his bundle to see inside it, and 
once it is opened it ceases to be 
a bundle. 

FIRST As a man once dead ceases to 
be a man. 

SECOND And becomes a reproach. 

THIRD Yes; a reproach to Nature. 

FIRST Should we then reproach our- 
selves for killing him? 

SECOND No ; we might reproach ourselves 
for not killing him. 

THIRD For not killing him sooner. 

FIRST Or later! 



64 



THE MAN WITH THE BUNDLE 

SECOND Or for not letting him kill us. 

THIRD Perhaps he would not want to. 

FIRST He would if we had the bundle, 
and he had it not. 

SECOND But then we should not want to 
kill him. 

THIRD Then he should give us the bun- 
dle. 

FIRST He will do so, for we will take it. 

SECOND When he is dead. 

THIRD We give him Death in excahnge. 

FIRST What a Vast thing to give for 
so little. 

SECOND We should have killed him be- 
fore this. 

THIRD No; if we should we would. 

FIRST And then we could. 

SECOND But we could not! 

THIRD And why could we not? 

FIRST Because he never spoke. 

SECOND Then he is very wise. 

THIRD For only the wise keep silence. 

FIRST Even the wise cannot keep si- 
lence when there is no silence 
to keep. 



65 



THREE ORIENTAL PLAYS 



SECOND Then they join in the din. 

THIRD And make it less. 

FIRST Because the voice of the wise 
quietens the tongue of the fool- 
ish. 

SECOND Then foolish tongues must make 
make for wisdom. 

THIRD Yes; everjrthing foolish arrives 
at where it never set out for. 

FIRST Then the foolish are wise? 

SECOND Yes; for then they cease to be 
fools. 

THIRD But we are fools. 

FIRST Yes; fools not to kill him! 
SECOND No; fools for ]etting him live! 
THIRD The same thir.^-I 

FIRST Not the same thing. I let my 
father live but not because I 
do not kill him. 

SECOND Can we be overheard. 

THIRD Yes; by our audience. 

FIRST Then they will not like us. 

SECOND Then we shall not like them. 

THIRD But we have to speak this. 

FIRST And they have to listen. 

66 



THE MAN WITH THE BUNDLE 



SECOND They may leava us. 
THIRD We may leave them. 
FIRST Then there will be no play. 
SECOND There will still be a play. 
THIRD But they will not hear it. 
FIRST Then they will be glad. 
SECOND Yes, glad ; because it is rot nice 

to hear what you do not like! 
THIRD But if they like it? 
FIRST Then they will be glad. 
SECOND So shall we, 
THIRD So stay, or go, we make them 

glad. 
FIRST Shall we stay or go? 
SECOND Let us do both. 
THIRD How can we? 
FIRST Stay now and go when we finish. 
SECOND But we cannot finish until we 

kill our man. 
THIRD He is not our man. 
FIRST The man with the bundle. 
SECOND The man with our bundle. 
THIRD Then we must get it. 
SECOND (Listening), He is here. 
THIRD He is not, but will be. 

67 



THREE ORIENTAL PLAYS 

FIRST He will not be here soon, but his 

body will. (Draws a dagger). 

(The three stand tip simultaneously 
drawing daggers), 

FIRST Let us enter when he is asleep. 

(They exit at right. A tapping is heard 
and door at top of steps opener The Man 
With the Bundle enters. Tartar awakens 
and runs to door at right, listens and runs 
back to staircase. The man with the bun^ 
die on his back comes down steps very 
slowly). 

TARTAR A good night! 

MAN The night is not good. No night 

is good. Night is bad, a bad 
substitute for day. That's why 
we sleep at night. 

TARTAR (With admonition). Do not 
sleep tonight. 

MAN Then must I sleep in the day. 

TARTAR No, you will sleep night and day 
forever ! 

MAN Fool, there is no forever. 

TARTAR There is "ever." 

MAN Yes ever and ever, and ever, and 

ever. 



68 



THE MAN WITH THE BUNDLE 



TARTAR And ever? 

MAN Yes ; that is why you have to add 

and ever. So you see there is 
no eternity, for when you add 
one ''and ever" you have to add 
another "and ever J' It does not 
matter how many "and evers*' 
you add, you are still just as far 
away from eternity as you were 
in the beginning. (As he enun- 
ciates each phrase he takes one 
step down. He is now on the 
bottom step), 

TARTAR Do you want to live? 

MAN Here is a coin. Buy food. You 

live to want. 

TARTAR You speak better wisdom than 
they did. (Points to door at 
right; jingling coins). Your 
wisdom is more objective, and 
you have made me your de- 
pendent. 

MAN (Coming down last step). No; 

I have made you independent. 

TARTAR And yet, I will warn you. 

69 



THREE ORIENTAL PLAYS 



MAN 



TARTAR 
MAN 

TARTAR 
MAN 

TARTAR 

MAN 
TARTAR 

MAN 



TARTAR 

MAN 
TARTAR 



You cannot. I know already. 

(Indicating door left). They 

want my bundle? 

(Nods several times). 

If they want it long enough 

they will get it. 

(Trembling). I'm afraid. 

So am I. I am more afraid than 

you because I do not show it. 

I'm going. 

I shall stay. 

(Begging him on knees). No, 

go — if you are afraid — Master. 

I never run away when I am 

afraid. That is the only time 

when one should stay. Besides 

it's so simple. 

(Trembling). Oh Fm afraid — 

so afraid! 

Of them? 

(Getting up and backing away 
from him in a circle as the man 
twms). No! No! of you — of 
you (his back is now against 
stairs. He runs up the stairs 



70 



THE MAN WITH THE BUNDLE 

backwards with distended eyes, 
and hands held out like claws). 

— of you ! you ! you ! you 1 you ! 
you! 

(The door at top gives to his weight and 
he disappears in the blackness as it closes 
with a metalic clang. Instantly the door at 
right opens and three heads appear one- 
two-three, one above the other, and then dis^ 
appear in rapid succession, one after the 
other. Another metallic clang. The man 
lifts his bundle off his back and uses it as 
a pillow, places the rush light at his feet 
and sleeps. The door at right opens slowly. 
The first robber creeps out with shoulders 
hunched. The second crawls out on his 
knees. The third on his all fours. The door 
clangs metallically. They all fall flat on 
their faces. The sleeper wakes, and after a 
pause, settles to sleep again. The first one 
gradually rises to his feet from the ankles 
up vdthout touching the floor with his hands 
— like a cobra. The second does the same, 
but in a kneeling position. The third rises 
also but keeps his hands on the floor. They 
now speak in rapid succession, toning their 
speech in three keep like part singers, but 
subdued). 

71 



THREE ORIENTAL PLAYS 



FIRST You heard the Tartar tell. 
SECOND And he is not afraid. 
THIRD He sleeps on his bundle. 
FIRST We must go away — 
SECOND As if we leave for the night. 
THIRD But return like new guests. 
FIRST Striking on the door. 
SECOND And when he opens it — 
THIRD Strike! (At the word strike, all 

rise and turn as one to left, and 

march upstairs. As they go up- 

stairs, — loudly — ) 
FIRST A bundle of rags is no good. 
SECOND Only as a pillow. 
THIRD And we have frightened him 

enough. (All laugh), E-E-E-E- 

E-E-E-E-E-E ! 
(Three clangs on the door. Outside E- 
E-E-E-E-E diminishes and the night owl 
hoots) . 
MAN (Raising his head). Only the 

wise laugh, and only the wise 

never laugh in the wrong place. 

(He settles to sleep again). 

(There comes a timid tapping at the 
door. Then a rapping. Then three loud 

72 



THE MAN WITH THE BUNDLE 

knocks. Then a Yit-Kim player is heard, 
the music pulsing and soaring upwards. 
The man rises, takes the long rush-light, 
and mounts the stairs. The rush-light is in 
his right hand, and his left is extended like 
a tvire-walker's. He takes step by step, 
what time the music sobs and soars, and the 
owl hoots. When he reaches the top the 
door is snatched open a7id the three robbers 
are revealed, two with long knives raised, 
the third at back ivith Yit-Kim playing. 
The knives flash, the music throbs, the Oivl 
hoots. The man throws up his arms and 
the rush and the rush-light with its porce- 
lain holder crashes to floor, breaks, and 
plunges the whole place in darkness, and 
the man's body falls down stairs, and the 
door clangs metallically to. The body then 
is heard thudding dmvn the stairs in dark- 
ness. The Yit-Kim plays on. First robber 

heard to run doivn stairs — thud — thud 

patter) . 

SECOND (Thud-thud— patter) . 

THIRD (Thud-thud— patter). With a 

long discord on his Yit-Kim). 

(Dead silence for a minute, then the flash 
of a light as First and Second simidtaneou^- 
ly light a rush-light apiece. 

The body of man is lying center, right 
to left. 

73 



THREE ORIENTAL PLAYS 

First stands at head, Second at foot. 
Third stands on bottom step with Yit-Kim. 

Bundle is doivn front of body. 

First and Second robbers have knives 
raised), 

FIRST Very quick, open the bundle! 
SECOND Yes. 

THIRD (Steps over corpse, laying Yit- 
Kim on body and opens bundle; 
the other two stand close on 
either side), 

(First and Second about to cut 
knot tvith their knives), 

THIRD No! (He unties knot and the 
THE contents fall out). 

THREE Books, only books! 

(The Yit-Kim plays mockingly, accomr- 
panied by a hollow laugh. 

The Third falls forward on his face. 
First and Second fall back on floor, reveal- 
ing the corpse sitting up playing and laugh- 
ing mockingly). 

You think that is all. 



FIRST 


A God 


SECOND 


A Spirit — 


and 




THIRD 


A Wise Man. 



74 



THE MAN WITH THE BUNDLE 



MAN A student and philosopher. 

FIRST A philosopher and a brave one. 

MAN And a coward! Look at your 

knives and see how twisted the 
points are! (Moves his rags 
aside). A steel shirt that came 
from Damascus. The links are 
fine as silk." 

SECOND And you said a philosopher! 

MAN So I am, but my philoosphy is 

concretely objective and objec- 
tively concrete. (Strikes his 
mail shirt), 

THIRD And only books. (Turning over 
volumes). 

MAN Look at the wrapper. (They do 

so, spreading it out) , Now turn 
it. (They do so, wonderingly. 
Cries come from them it is 
tissue gold). 

FIRST What! 

SECOND What is it? 

THIRD What is it made of? 

MAN The golden tissue of my dreams I 

(He tears the rags off, — reveal- 
ing his mail shirt which gleams 

75 



THREE ORIENT AL PLAYS 



like silver). 

The silver thread of my philos- 
ophy. 
(Holds out his arms and the robbers, as 
if in a trance, put the robe on him). 

The Second hands his taper to the First 
and picks up the Y it-Kim, which has a long 
scarlet ribbon on it. 

The Third picks up the books, largest 
at bottom and smallest on top. 

The man turns to walk upstairs, fol- 
lowed by the robbers with two tapers — next 
the Yit-Kim player, and finally the Third 
with books. They speak as they ascend step 
by step), 

MAN Come, filch not money from men, 

but steal wisdom from secret 

tombs and from the hearts of 
the living. (His gold robe trails 
on the steps. Yit-Kim plays 
very softly. At the top of steps 
the man pushes open the door. 
Rosy dawn is in the sky), 

MAN Who shall say the night has 

ended and the day begins! 

THE 

THREE Oh say it. Master! (He turm 
on the top stair. The sky gets 

76 



THE MAN WITH THE BUNDLE 

brighter and birds sing). 
MAN Dawn awaits round the shoulder 

of the world — waiting — 

(The three breathlessly), 
MAN Waiting for mankind to beckon 

it, if they have the courage! 
(The scene fades out in a rosy mist). 



Epilogue 



^ (When the light gets brighter the cur- 
tain is down and the two prologues are 
asleep right and left. They yawn and wake). 



FIRST 
SECOND 

FIRST 
SECOND 



FIRST 



SECOND 



Is the audience still here? 

Yes; they have more patience 

than we have. 

I slept through it all. 

So did I. I'm so tired. Oh! 

(Yawns). Too tired to renew 

our quarrel. 

Yes; if you call it a (yawns) a 
quarrel. 

I woke up towards the end and 
heard something about "man- 
kind beckoning the dawn." 



77 



THREE ORIENTAL PLAYS 

FIRST Who is going to rise on the cold 
dark morning to "beckon the 
dawn." When you have to 
work you must get your full 
night's rest. Work takes all 
your time. It leaves you no 
leisure to "beckon the dawn," 
as the author calls it. Fine sort 
of author. Got more time than 
money. 

SECOND Perhaps he likes play better 
work. 

FIRST Who doesn't! What's that? 
(Points to floor). 

SECOND Looks like the leaf out of a book. 
See, it has gilt edges. 

FIRST Let's read it. It will do as an 
epilogue and help the audience 
to understand the play, which is 
more than I do. (Picks up leaf. 
Yawns. They both yawn. He 
reads:) "He who can wear rags 
with comfort can wear fine 
clothes with distinction; and he 
who can wear fine clothes with 



78 



THE MAN WITH THE BUNDLE 

comfort, can wear rags with dis- 
tinction." (Tears up leaf and 
yawns) . 

FIRST That leaves us as far off as ever. 

SECOND Let's see if the stage manager 
will let us have a few coins to 
buy rice. 

FIRST Or opium! 

SECOND Both— both. (They ignore avr- 
dience and stroll off arm in arm} . 

FINIS 



79 



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